Ruth Asawa

A Decade of Acquisitions of Works on Paper
2022-02-13 08:00 - 2022-05-01 17:00 UTC | Hammer Museum, 10899 Wilshire Boulevard, Los Angeles, CA, 90024, United States
The inaugural presentation in the Hammer Museum’s new works on paper gallery highlights acquisitions of prints and drawings from 2012 to the present. Over the last decade, through purchases and many generous gifts, the museum has built a robust collection in this medium. This exhibition shows, for the first time, many contemporary prints and drawings in the collection, ranging from the conceptual to the political, the abstract, the gestural, and the poetic.
Artists of the 1960s generation such as Richard Artschwager, Vija Celmins, Sonia Gutiérrez, Betye Saar, and Sue Williamson are included, with beautiful examples made using diverse printmaking techniques. Also featured is a selection of drawings by Ruth Asawa, Lee Bontecou, Charles Burchfield, Miguel-Ángel Cárdenas, Judy Chicago, Mary Corse, Sam Gilliam, Lynn Hershman Leeson, and David Smith. The exhibition also includes artists such as Huma Bhabha, Trisha Donnelly, Sharon Hayes, Rashid Johnson, Glenn Ligon, and Rachel Whiteread whose contemporary practices are represented with innovative and experimental works on paper.
This exhibition is the first of two showcasing recent acquisitions and promised gifts.
A Decade of Acquisitions of Works on Paper is organized by Cynthia Burlingham, deputy director for curatorial affairs and director of the Grunwald Center for Graphic Arts, and Connie Butler, chief curator.
The Gallery is open Tues – Sunday from 11am – 6pm
Admission is Free

Imogen Cunningham: A Retrospective
2021-11-18 10:00 - 2022-02-06 17:00 | Seattle Art Museum, 1300 1st Ave, Seattle, WA, 98101, United States
Imogen Cunningham: A Retrospective showcases the endless innovation and profound influence of this remarkable photographer who pushed the boundaries for both women in the arts and photography as an art form. Nearly 200 of Cunningham’s insightful portraits, elegant flower and plant studies, poignant street pictures, and groundbreaking nudes present a singular vision developed over seven decades of work. The first major retrospective in the United States of Cunningham’s work in 35 years, the exhibition examines on the artist’s Seattle upbringing and includes works by female artists such as Ruth Asawa and Martha Graham who Cunningham championed, as well as works by Group f/64 which she helped found with Ansel Adams, Edward Weston, and others. Cunningham’s spark of creative possibility asserted photography as a distinct and valuable art form in the 20th century.

This exhibition is organized by the J. Paul Getty Museum, Los Angeles.
Presenting Sponsor
ArtsFund
Major Sponsor
National Endowment for the Arts
Generous Support
Herman and Faye Sarkowsky Endowment
Mary and Dean Thornton Endowment Fund
Adults: 29.99 at least a day in advance, and 32.99 day of.
Check pricing >
The museum is closed Mondays and Tuesdays
In accordance with the latest Public Health—Seattle & King County order, all visitors age 12 and older must show proof of full vaccination or a negative COVID-19 PCR test to enter the museum. Additionally, masks are required for all individuals over the age of two regardless of vaccination. Subject to change.
Photo © Imogen Cunningham Trust

Ruth Asawa: All Is Possible
2021-11-04 10:00 - 2021-12-18 18:00 | David Zwirner New York W 20th St., 537 W 20th St., New York, NY, 10011, United States
David Zwirner is pleased to present Ruth Asawa: All Is Possible at the gallery’s 537 West 20th Street location in New York. Organized by Helen Molesworth, this exhibition aims to situate Asawa’s (1926–2013) iconic looped- and tied-wire sculptures in the context of her extraordinary drawings and her lesser known sculptural forms, offering viewers one of the most comprehensive looks at this artist’s work to date. This larger context illuminates an artist in pursuit of form as a means to reshape how we see and perceive the world as well as offering a model for thinking about the avant-garde’s long-held desire to place art and life in a permanently dynamic conversation.
The Estate of Ruth Asawa has been represented by David Zwirner since 2017. The gallery’s inaugural solo exhibition of the artist’s work took place the same year in New York. In 2020, the gallery’s London location presented Ruth Asawa: A Line Can Go Anywhere, which was the first major presentation of the artist’s work outside of the United States. In 2022, Ruth Asawa: Citizen of the Universe will open at Modern Art Oxford, England, and will subsequently travel to the Stavanger Kunstmuseum, Norway.
Open Tues – Sat. 10-6
Photo: Imogen Cunningham, Ruth Asawa, Sculptor, 1968 (detail)

Women in Abstraction
2021-10-22 11:00 - 2022-02-27 19:00 | Guggenheim Bilbao, Abandoibarra Etorb., 2, Bilbo, Bizkaia, 48009, Spain
Women in Abstraction aims to trace a lesser-told history of art primarily from the 20th and 21st centuries by focusing on the contribution of women artists to abstraction. The exhibition includes over 100 artists working across disciplines, such as dance, applied arts, photography, film, and performance art from Latin America, the Middle East and Asia, Europe, and the United States in order to tell an expansive and complex story with many voices.
Many exhibitions dealing with abstraction underestimate the fundamental role played by women in the development of this movement. By focusing on the paths of artists, some of whom were unfairly ignored, the exhibition proposes another history. Women in Abstraction brings to light the decisive turning points that have marked this movement, evoking both the research undertaken by artists, individually or as a group, and the founding exhibitions.
Exhibition organized by the Centre Pompidou, Paris, in collaboration with the Guggenheim Museum Bilbao.
With the support of the Terra Foundation for American Art.
The exhibition was conceived by Christine Macel, Chief Curator at the Centre Pompidou, and Karolina Lewandowska, Director of the Museum of Warsaw in addition to Curator of Photography, and organized in collaboration with Lekha Hileman Waitoller, Curator at the Guggenheim Museum Bilbao.
12€ Adults – 6€ Senior – 6€ Students
From 11:00 a.m. to 7:00 p.m.
Image: Sonia Delaunay
Electric Prisms (Prismes électriques), 1914
Oil on canvas
250 x 250 cm
Purchased by the State, 1958
Attributed, 1958
Centre Pompidou Collection, Paris, Musée national d’Art moderne – Centre de création industrielle
Image © Centre Pompidou, MNAM-CCI/ Philippe Migeat/
Dist. RMN-GP
© Pracusa S.A.

Artist's Choice: Yto Barrada—A Raft
2021-07-20 10:30 - 2022-01-09 17:30 | MoMA, 11 West 53 Street, Manhattan, New York, NY, 10019, United States
In A Raft, Yto Barrada—an artist known for her multidisciplinary investigations of cultural phenomena and historical narratives—explores how artworks can provide models for reimagining relationships and alternative ways of being in our world.
In this latest iteration of MoMA’s Artist’s Choice exhibition series, Barrada has gathered works from the Museum’s collection that resonate with the ideas and work of French social work pioneer and writer Fernand Deligny (1913–1996). Barrada’s exploration centers on Deligny’s work from the late 1960s, when he lived together with other volunteers and children with intellectual and developmental disabilities in an informal network in rural France; this was an attempt to create a new way of living “outside language,” adapted for the nonverbal children. Deligny called this independent project “a raft,” envisioning it as lightweight and maneuverable, and requiring constant maintenance—an alternative to the “cargo ships” of the psychiatric institutions. Particularly resonant today, Deligny’s emancipatory ideas are being rediscovered widely, by philosophers, psychoanalysts, anthropologists, filmmakers, and artists.
Renewed interest in Deligny’s life’s work is largely due to his publishers Sandra Alvarez de Toledo and Anaïs Masson, Barrada’s longtime friends with whom she has collaborated closely on this exhibition. For Barrada, “Deligny’s search for new maps and modes of being represent a vital heritage for artists.” In bringing together selected works by artists including Anni Albers, Vito Acconci, Louise Bourgeois, Lygia Clark, David Hammons, and Bruce Nauman with films, maps, writing, and photographs that document Deligny’s revolutionary project, Barrada invites us to consider art in relationship to language in ways that might inspire us elsewhere in our lives.
Organized by Yto Barrada with Lucy Gallun, Associate Curator, and River Encalada Bullock, Beaumont & Nancy Newhall Curatorial Fellow, Department of Photography.
MoMA is open daily, from 10:30 a.m.–5:30 p.m.
We are open until 7:00 p.m. on Saturdays.

Lineage: Paul Klee and Ruth Asawa
2021-07-10 08:00 - 2021-12-05 17:00 | SF MOMA, 151 Third St, San Francisco, CA, 94103
Drawing is a line that “goes out for a walk,” wrote the Swiss-born Modernist Paul Klee (1879–1940). Klee’s dynamic lines and rhythmic patterns have been a catalyst for generations of artists, including California-born Ruth Asawa (1926–2013). Asawa first encountered Klee’s art and writing through her Black Mountain professor Josef Albers, with whom Klee had taught at the Bauhaus, a revolutionary art school in Germany. She later noted — evoking Klee — that she was interested in “the economy of a line” because “a line can go anywhere.” This presentation highlights the affinity between Klee’s compositional approach and Asawa’s explorations of line and shape in works she created at Black Mountain College and in her first years in San Francisco, where she moved in 1949.
Museum Hours:
Hours
Mon 10 a.m.–5 p.m.
Tue + Wed Closed
Thu 1 p.m.–8 p.m.
Fri–Sun 10 a.m.–5 p.m.
Adult: $25, Senior: $22, YA: $19
Teens and Children FREE
Check website.

Women in Abstraction
2021-05-19 12:00 - 2021-08-23 20:00 | Centre Pompidou, Place Georges-Pompidou, 75004, Paris
The exhibition sets out to write the history of the contributions of women artists to abstraction, with one hundred and six artists and more than five hundred works dating from the 1860s to the 1980s.
“Women in Abstraction” provides an opportunity to discover artists who represent discoveries both for the specialist and for the general public. It showcases the work of many of these women who suffer from a lack of visibility and recognition beyond the frontiers of their countries. Reviewing their specific contribution to the history of abstraction, the exhibition focuses on the careers of artists who were sometimes unjustly eclipsed from the history of art.
11 am – 8 pm, every day except Tuesdays. Online reservation required.
Photo by Delphine Paris, Artwork © 2021 Estate of Ruth Asawa / Artist Rights Society (ARS), New York.
Courtesy Estate of Ruth Asawa and David Zwirner

Experiments On Stone: Four Women Artists From The Tamarind Lithography Workshop
2021-03-10 - 2022-05-03 | Online
Drawn from the Museum’s permanent collection, Experiments on Stone: Four Women Artists from the Tamarind Lithography Workshop explores the prints produced by a group of artists at the Tamarind Lithography Workshop. Anni Albers, Ruth Asawa, Gego, and Louise Nevelson each completed two-month fellowships at Tamarind during the 1960s. Though they did not overlap with one another during their residencies, the connective thread between their varied bodies of work is the workshop itself.
View exhibition >
Founded by artist June Wayne in 1960, Tamarind was conceived to fill a void in the output of prints produced by artists in the United States. The workshop was an essential site for experimentation and collaboration between artists and printers in Los Angles in the 1960s. Emphasizing collaboration, innovation, professionalization, and training, Tamarind served as a site for artists and printers alike to revive the medium of lithography in the United States, a technique which had dwindled just after mid-century due to economic pressures and the lack of master printers and print shops. Under the directorship of Wayne, several women artists were given the space to create and further the medium of lithography with unprecedented access to studio space and printers.
These four artists all worked primarily in media outside of printmaking for a majority of their careers—Albers is known for her textiles and weaving while Asawa, Gego, and Nevelson each developed unique sculptural practices. The fellowship at Tamarind proved to be a fruitful period for developing each of their practices, using lithography to work through their three-dimensional concerns and ideas on a two-dimensional surface. Situating these lithographs alongside sculptural or textile examples, this exhibition places this period of work in direct dialogue with each artist’s larger œuvre. Experiments on Stone explores each artist’s distinct inquiry into printmaking, underscoring the importance of this experimental time in each of the artists’ respective careers.
Experiments on Stone: Four Women Artists from the Tamarind Lithography Workshop is organized by MCASD Assistant Curator Alana Hernandez and made possible by gifts to the annual operating fund. Institutional support of MCASD is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego Community Enhancement Fund.
This exhibition is part of the Feminist Art Coalition, a national platform for art projects that seek to generate cultural awareness of feminist thought, experience, and action. Working collectively, art museums and nonprofit institutions from across the United States will present concurrent events beginning in the fall of 2020.
Photo: Desert Plant
1965, Color Lithograph, 18 1/2 × 18 1/2in. (47 × 47cm). Collection of Museum of Contemporary Art San Diego, Gift of Mr. and Mrs. Martin L. Gleich, San Diego, California.

Crafting America
2021-02-06 08:00 - 2021-05-31 17:00 | Crystal Bridges Museum of American Art, 600 Museum Way, Bentonville, AR, 72712, United States
Crafting America, a new exhibition developed by Crystal Bridges, celebrates the skill and individuality of craft within the broad context of American art. From jewelry to furniture to sculptures and more, this exhibition is dazzling and full of surprises.
Featuring over 100 works in ceramics, fiber, wood, metal, glass, and more unexpected materials, Crafting America presents a diverse and inclusive story of American craft from the 1940s to today, highlighting the work of artists such as Ruth Asawa, Beatrice Wood, Shan Goshorn, Nick Cave, and more. Craft has long been a realm accessible to the broadest range of individuals, providing an opportunity to explore personal creativity, innovation, and technical skill. This exhibition foregrounds varied backgrounds and perspectives in craft, from the vital contributions of Indigenous artists to the new skills and points of view brought by immigrants to the United States.
Developed by Jen Padgett, associate curator at Crystal Bridges, and Glenn Adamson, guest curator and scholar of craft, design history, and contemporary art, Crafting America asserts craft’s integral role in expanding the story of American art and is accompanied by a major multi-author illustrated publication published by Crystal Bridges and the University of Arkansas Press. The video lecture discusses Asawa’s work at 39:00.
Crystal Bridges is open Wed. through Mon. with free, timed tickets required. Admission to the exhibition is:
Adults: $12
Members, SNAP participants, Veterans, and Youth 18 and Under: FREE

Connecting Legacies: A First Look at the Dreier Black Mountain College Archive
2021-01-27 08:00 - 2021-05-17 17:00 | Asheville Art Museum, 2 South Pack Square, Asheville, NC, 28801, United States
Black Mountain College was founded in order to provide a place where free use might be made of tested and proved methods of education and new methods tried out in a purely experimental spirit. There is full realization, however, of the fact that experiment is, for the individual, also experience; hence, no experiment is being tried which is not submitted beforehand to the test of reasonable likelihood of good results. It is for this reason that the College is for the present content to place emphasis upon combining those experiments and the results of those experiences which have already shown their value in educational institutions of the western world, but which are often isolated and prevented from giving their full value because of their existence side by side with thoughtless tradition.”
—Text from first BMC Catalogue, 1933
“This is lydia see, curator of Connecting Legacies. Archives are collections of records, such as letters, newspapers, and photographs, also known as primary source materials. Museums often look to primary source materials for a variety of reasons: to add context to research about artworks, artists, and the historical framework within which something was made.
Displayed in this gallery are archival objects shown alongside works from the Museum’s Black Mountain College Collection, which is comprised of over 1000 artworks and ephemera. These objects create connections, each one a thread contributing to a nuanced tapestry of the people, materials, geographies, and ideas of Black Mountain College and its ongoing legacy.
Highlighted in this exhibition are materials which focus on underrepresented narratives and the women and people of color of Black Mountain College. For instance, during the Summer Music Institute of 1944, almost 10 years to the day before the Brown vs. Board of Education Supreme Court Ruling, Alma Stone Williams became the first African American student invited to BMC. The following summer, musicians Roland Hayes and Carol Brice were welcomed to the College as its first African American Faculty. Programs from their performances are curated alongside student artworks made around the same time.
This exhibition encourages viewers to find connections running between artworks and items from the Theodore Dreier Sr. Document Collection and invites the consideration of how the presence of primary sources impacts the experience of engaging with art.”
This exhibition is organized by the Asheville Art Museum and curated by lydia see, fall 2020 Black Mountain College fellow, with support from a Digitizing Hidden Collections grant through the Council on Library and Information Resources.

Ruth Asawa: Drawing In Space
2020-11-30 08:00 - 2020-12-19 17:00 | David Zwirner New York 69th St., 34 East 69th Street, New York, NY, 10021, United States
While best known for her innovative wire sculptures, Asawa had a deep connection to drawing and painting and often depicted plants, flowers, and other organic forms across her work that spanned fifty years. Here, we present a selection of the artist’s smaller sculptures along with prints and works on paper, many of which have not been widely shown.
On the occasion of an installation of wire sculptures, drawings, and lithographs by Ruth Asawa at David Zwirner’s 69th Street gallery in New York, this online presentation offers a view of the investigations of material and form, often inspired by nature, that defined the artist’s career for half a century.
The gallery is open Tuesday-Saturday, 10AM–6PM.
Please note we are following these COVID-19 precautions:
– Face masks are required
– Only 6 visitors are allowed in at a time
– Observe social distancing of 6+ feet
Appointments are encouraged but not required >
View the online presentation >

Nothing Is So Humble: Prints from Everyday Objects
2020-11-20 08:00 - 2021-04-30 17:00 | Whitney Museum of American Art, 99 Gansevoort Street, New York, NY, 10014, United States
This focused exhibition, drawn from the Whitney’s collection, will look at the creative and irreverent ways that seven artists—Ruth Asawa, Sari Dienes, Pati Hill, Kahlil Robert Irving, Virginia Overton, Julia Phillips, and Zarina—have employed the everyday objects around them to make prints. Nothing Is So Humble takes its title from an evocative proposition by Dienes that recognized aesthetic possibilities in the most mundane of subjects: “Bones, lint, Styrofoam, banana skins, the squishes and squashes found on the street: nothing is so humble that it cannot be made into art.”
The artists in this exhibition share an unconventional approach to printmaking. Rather than mark a metal plate or carve into a block of wood, they have worked directly with the stuff of their environments: making a rubbing from a maintenance hole cover, photocopying a hairbrush, running nylon stockings through an etching press, or even pressing a slice of prosciutto onto a printing plate.
The resulting surface impressions—at once precise and abstracted—capture intimate views of their commonplace subjects that teeter between recognizable and elusive. By making visible what might otherwise be overlooked, these works transform ordinary encounters into poetic and poignant accounts of our world.
This exhibition is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints.
The Museum is $25 adults
$18 Senior, Student, Disability
Pay What You Wish on Fridays, 6–9 pm.
All visitors and members must book timed tickets in advance. Please note that the Whitney is operating at a significantly reduced capacity for your safety, and same-day tickets may be extremely limited.

Women, Surrealism, and Abstraction
2020-08-25 09:00 - 2021-12-12 17:00 | Nora Eccles Harrison Museum Of Art, 650 North 1100 East, Logan, UT, 84322, United States
Drawn exclusively from the Museum collection, Women, Surrealism, and Abstraction endeavors to look beyond typical art historical boundaries and to begin to lay claim to a more holistic and complex view of art history—one that includes parties left out because of aesthetic biases based on a system of privileged white male patrimony.
During the 20th century, art made by women was often overlooked or dismissed by museums, collectors, and art historians. An ironic side effect of this absence of attention was that it lessened the constraints and dictates of the marketplace for women, allowing for increased experimentation and the pursuit of a personal vision in ways often less available for their male counterparts.
Until more recently, women of color—especially Native American women—have rarely been included in art historical studies focusing on Surrealism and abstraction. In addition, artists who work in ceramics, fiber arts, photography, and printmaking, rather than painting and sculpture, are often left out of these studies as well. However, Surrealism and abstraction offered women a glimpse of a world in which creative activity and liberation from societal expectations co-existed, allowing them to embark on the difficult path to artistic freedom. Visit the website for virtual and audio tours.
We are now limiting Museum attendance to 25 visitors at a time and require reservations. Photo: Margaret Tomkins Untitled
Wednesday 12pm – 5pm
Thursday 12pm – 5pm
Friday 12pm – 7pm
Saturday 10am – 3pm
Sunday – Tuesday CLOSED

50x50 San Jose Museum of Art Publishes Online Catalog
2020-08-18 - 2022-05-02 | Online
SJMA has published an online catalog titled 50X50: Stories of Visionary Artists from the Collection that features 50 artists. Learn about their lives, what inspired them, and what materials they used. Each artist chapter has been carefully researched and diligently cited. Featuring the artists’ own words via video and audio files. Large-scale artworks are available for your enjoyment.
View now >

Question Everything! The Women of Black Mountain College
2020-01-24 11:00 - 2020-04-25 17:00 | Black Mountain College Museum + Arts Center, 120 College Street, Ashville, NC, 28801, United States
This exhibition will celebrate the work and impact of the women associated with Black Mountain College, featuring borrowed works alongside pieces from the BMCM+AC collection by a wide-ranging group of artists including Anni Albers, Suzi Gablik, Ruth Asawa, Jo Sandman, M.C. Richards, and Hazel Larsen Archer.
BMC was a place where women could explore their identities as artists and individuals; a space where women were expected to question things, to think critically and to explore their own self determinacy. Through artworks, personal accounts and archival film and photographs, Question Everything! details how this new generation went forward with a strong sense of what it meant to be a woman in the 20th century, forging new paths for themselves and those who followed in their footsteps.
The museum is open Mon – Sat.
Admission is free with suggested donation.
This exhibition is supported by The Beattie Foundation, John Byrd + Ellen Clarke, Marion L. Johnson Church, Mr. + Mrs. Raymond J. Horowitz Foundation, Thomas Frank, and the Windgate Charitable Foundation.
Special thanks to: The Britton family, Connie Bostic, Crystal Bridges Museum of American Art, Sarah Downing, Johanna Engebrecht, Katherine French, Suzi Gablik, Lorrie Goulet, Rob Hazelgrove + Dan McLawhorn, Hudson + Terry Lanier, Rebecca Lowell, Michael Manes, The Milton Resnick and Pat Passlof Foundation, Donna Marie Perkins, Reynolda House Museum of American Art, Jo Sandman, Susan Rhew Design, Heather South, Western Regional Archives, and Erika Zarow.
Preview the Exhibition >
Learn more about life at Black Mountain College, and Asawa’s time there >
View more of the work she created at Black Mountain >
Top photo: Untitled S.529 (Wall-Mounted Paperfold with Horizontal Stripes), ca. 1970s
Ruth Asawa, Ink and paper

A Line Can Go Anywhere
2020-01-10 10:00 - 2020-02-22 17:00 | David Zwirner London, 24 Grafton Street, London, W1S 4EZ, United Kingdom
David Zwirner is pleased to announce an exhibition of work by American artist Ruth Asawa (1926–2013) at the gallery’s London location. This will be the first major presentation of the artist’s work outside of the United States and will include a number of her key forms, focusing in particular on the relationship between her wire sculptures and wide-ranging body of works on paper.
An influential artist, devoted activist, and tireless advocate for arts education, Asawa is best known for her extensive body of hanging wire sculptures. These intricate, dynamic, and sinuous works, begun in the late 1940s, continue to challenge conventional notions of sculpture through their emphasis on lightness and transparency. Relentlessly experimental across a range of mediums, Asawa also produced numerous drawings and prints that, like her wire sculptures, are built on simple, repeated gestures that accumulate into complex compositions. Although she moved between abstract and figurative registers in her sculptures and drawings, respectively, viewed together, the works in this exhibition nevertheless incite a rich dialogue and find commonality in their sustained emphasis on the natural world and its forms, as well as in their deft use of the basic aesthetic concept of the line.
“I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.”
Image: Ruth Asawa, Sculptor, at Her Door, 1963 (detail). Photo by Imogen Cunningham. © 2020 Imogen Cunningham Trust

Making Knowing: Craft in Art, 1950–2019
2019-11-22 10:30 - 2022-02-01 18:00 | Whitney Museum of American Art, 99 Gansevoort Street, New York, NY, 10014, United States
Making Knowing: Craft in Art, 1950–2019 foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. Some expand techniques with long histories, such as weaving, sewing, or pottery, while others experiment with textiles, thread, clay, beads, and glass, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work.
While artists’ reasons for taking up craft range widely, many aim to subvert prevalent standards of so-called “fine art,” often in direct response to the politics of their time.
In challenging accepted ideas of taste—whether by embracing the decorative or turning away from traditional painting and sculpture in favor of functional items like bowls or blankets—these artists reclaim visual languages that have typically been coded as feminine, domestic, or vernacular. By highlighting marginalized modes of artistic production, these artists challenge the power structures that determine artistic value.
This exhibition provides new perspectives on subjects that have been central to artists, including abstraction, popular culture, feminist and queer aesthetics, and recent explorations of identity and relationships to place. Together, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art.
Drawn primarily from the Whitney’s collection, the exhibition will include over eighty works by more than sixty artists, including Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Ree Morton, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson.
Making Knowing: Craft in Art, 1950–2019 is curated by Jennie Goldstein, assistant curator, and Elisabeth Sherman, assistant curator, with Ambika Trasi, curatorial assistant.
Support for Making Knowing: Craft in Art, 1950–2019 is provided by the Lenore G. Tawney Foundation.
Photo: Liza Lou, Kitchen, 1991-96. Beads, plaster, wood and found objects, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel, courtesy the artist
All museum visitors must book timed tickets in advance.
https://whitney.org/visit
$25
Adults
$18
Seniors, Students, and Visitors with Disabilities
Free
18 and under
The museum is closed on Tuesdays, and is open 10:30 to 6:00 every day except Friday, when it’s open until 10pm

The Pencil Is a Key
2019-10-11 12:00 - 2020-01-05 18:00 | The Drawing Center, 35 Wooster Street, New York, NY, 10013, United States
Drawings by Incarcerated Artists
The Pencil Is a Key is an exhibition of historical and contemporary drawings by incarcerated people from all over the globe. Works by artists who were or currently are prisoners will be juxtaposed with drawings by prisoners who became artists while incarcerated. Examples include drawings by political prisoners like Gustave Courbet, who was held in Saint Pélagie Prison for his role in the Paris Commune uprising of 1871; artists incarcerated during World War II as noncombatents like Hans Bellmer, who was interned in France, and a young Ruth Asawa, who was interned by the US government because she was a Japanese American; as well as artists in Soviet Gulags, Apartheid-era South Africa, in Central and South American countries under military dictatorships, and in the post-Arab Spring Middle East. The exhibition will also present drawings by members of contemporary American prison populations who found their talent through prison art programs, as well as collections of works by anonymous contemporary artist incarcerates working in drawing genres specific to prison life, like “Paños Chicanos” drawn on handkerchiefs, or envelope drawings meant to be sold or delivered through the mail.
Drawing is vital to those in captivity; it is a vehicle through which they proclaim their individuality, express their hope, and imagine their freedom. The drawings featured in this exhibition present powerful evidence of the persistence of human creativity in the most inhumane of circumstances and argue for the necessity of art—in the form of drawing—to the life of every human being. Created in extreme circumstances, the drawings in this show are weapons in the fight for justice, records that bear witness to terrible circumstances, containers of memory, and portals to a better future. Their very existence is of great significance, but their genius offers the proof of drawing’s purpose as well as the clearest explanation of why institutions like The Drawing Center must continue to present art to the public.
Image: Azza Abo Rebieh (1980–), Nayfeh, 2016. Pencil on paper. Courtesy of the artist.
The Drawing Center is closed on Monday & Tuesday
Admission for students and seniors is $3
Admission is free Thursdays, 6–8pm,
and at all times for the following:
Children under 12
Members
Visitors with disabilities and
a person accompanying them.

Women Take the Floor
2019-09-13 08:00 - 2021-05-03 17:00 | Museum of Fine Arts Boston, 465 Huntington Avenue, Boston, 02115
“Women Take the Floor” challenges the dominant history of American art by focusing on the overlooked and underrepresented work and stories of women artists. This reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity, inclusion, and gender equity in museums, the art world, and beyond. With more than 250 works drawn primarily from the MFA’s collection, the exhibition is organized into seven thematic galleries.
Presented in the Saundra B. and William H. Lane Galleries, Beyond the Loom: Fiber as Sculpture highlights pioneering artists who radically redefined textiles as modern art in the 1960s and 1970s: Anni Albers, Olga de Amaral, Ruth Asawa, Sheila Hicks, Kay Sekimachi and Lenore Tawney. The second rotation, opening in spring 2020, focuses on contemporary artists using the medium of textiles (embroidery, weaving, printed fabric, and quilts) to challenge notions of identity, gender, and politics.

In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury
2019-08-16 08:00 - 2020-01-12 17:00 | Art Institute of Chicago, 111 South Michigan Avenue, Chicago, IL 60603, 60603, United States
The work of Clara Porset, Lola Álvarez Bravo, Anni Albers, Ruth Asawa, Cynthia Sargent, and Sheila Hicks has never been shown together before. While some of these artists and designers knew one another and collaborated together, they are from different generations, and their individual work encompasses a range of media varying from furniture and interior design to sculpture, textiles, photography, and prints. They all, however, share one defining aspect: Mexico, a country in which they all lived or worked between the 1940s and 1970s. During this period they all realized projects that breached disciplinary boundaries and national divides.

“There is design in everything … in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot.” —Clara Porset, 1952
This exhibition is the first to explore Mexico’s impact on these visionary artists and designers. It takes its title from a quote by Clara Porset, a political exile from Cuba who became one of Mexico’s most prominent modern furniture designers. Influenced by Bauhaus ideas, she believed that design could reshape cities, elevate the quality of life, and solve large-scale social problems. This approach informed her 1952 exhibition Art in Daily Life, in whose catalogue she wrote, “There is design in everything … in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot,” encouraging us to look at both the natural and machine world for inspiration and ideas.
Arriving in Mexico City in 1935, Porset started her design studio in the early 1940s. Inspired by the country’s climate, lifestyles, aesthetic and cultural traditions, and political progressivism following the end of the Mexican Revolution (roughly 1920), she conceived designs to be made from local materials and used both handmade and industrial manufacturing techniques.
Mexican artist Lola Álvarez Bravo, a close friend and collaborator of Porset, was one of few women photographers working in the country during this period. Her photographs are essential to understanding Porset’s no longer extant projects, and her dynamic photomontages, created by cutting and pasting together parts of different photographs to create new images, provide insights into Mexico’s richly layered social, political, and geographical landscape during the 1940s and 1950s.
Porset was also friends with German émigré Anni Albers. Encouraged to visit Mexico by Porset, she first traveled to the country in 1935 and made 13 subsequent trips. Mexico’s landscape and architecture became a vital source of inspiration and remained so throughout her career, providing an abstract visual language for her designs. The triangle motif, for instance, that she used repeatedly in textiles and screenprints was drawn from archaeological Zapotec sites such as Monte Albán.
Mexico also left a deep impression on Japanese American Ruth Asawa. In 1947, two years after taking a class with Porset at the Universidad Nacional Autónoma de México, she returned to the country and was drawn to the artistry in utilitarian looped-wire baskets that she encountered in Toluca. From then on, sculptures made with this wire technique became her primary practice.
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Specters of Disruption
2019-08-15 09:30 - 2019-11-10 17:15 | deYoung Museum, Golden Gate Park 50 Hagiwara Tea Garden Drive, San Francisco, CA, United States
Specters of Disruption is the result of an inquiry into the shared encyclopedic collections of the de Young and Legion of Honor museums, performed with an eye toward patterns that might suggest a storyline within a collective institutional subconscious. The narratives of disruption that emerged from this process speak to the museums’ deep grounding in their origins and geographies. Drawing from their historic holdings and re-contextualizing them with modern and contemporary art, Specters of Disruption connects the museums’ colonial and geological underpinnings to the current conditions of the Bay Area and the evolving trajectories of American art histories. Unfolding through several galleries, this presentation is conceived in five chapters that revolve around different manifestations of disruption within nature, history and myth, culture and technology.
The Museum is open Tuesday–Sunday, 9:30 am–5:15 pm.
This exhibition is included with general admission.
Image: Carrie Mae Weems, “Lincoln, Lonnie, and Me – A Story in 5 Parts” (detail), 2012. Video installation and mixed media © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York

Masters of Modern Design Screening and Panel Discussion
2019-08-10 13:00 - 17:00 | deYoung Museum, Golden Gate Park 50 Hagiwara Tea Garden Drive, San Francisco, CA, United States
Join us in the Koret Auditorium for a special screening of Masters of Modern Design: The Art of the Japanese American Experience and a panel conversation with Ruth Asawa’s children, Aiko Cuneo, Addie Lanier, and Paul Lanier, Ruth Asawa’s biographer, Marilyn Chase, Masters of Modern Design’s director Akira Boch, KCET/PBS SoCal/LinkTV Chief Creative Officer and Executive Producer Juan Devis, and Producer Jacqueline Reyno.
Free Saturdays are about celebrating art and this city that we love. Explore the permanent collections, take a guided tour, and get inspired to create art of your own at our art making station.
The day will include engaging art experiences for the entire family. Enjoy access to the de Youngsters studio, family art making, gallery guides, enhanced gallery tours with discussion groups, sketching in the permanent collection galleries, and more.
MASTERS OF MODERN DESIGN: The Art of the Japanese American Experience
From the hand-drawn logo of The Godfather to Herman Miller’s biomorphic coffee table, the work of Japanese American designers including Ruth Asawa, George Nakashima, Isamu Noguchi, S. Neil Fujita, and Gyo Obata permeated postwar culture. While these second generation Japanese American artists have been celebrated, less-discussed is how their World War II incarceration—a period of intense hardship and discrimination—had a powerful effect on their lives and art.
This documentary, a co-production between Japanese American National Museum’s Watase Media Arts Center and KCET for the series ARTBOUND, explores the ways in which their camp experiences impacted their lives, influenced their art, and sent them on trajectories that eventually led to their changing the face of American culture with their immense talents.
Aiko Cuneo attended Pratt Institute in Brooklyn, NY. She had the pleasure of working on several projects with her mother and as a teaching artist in San Francisco schools. Currently, Cuneo supports Asawa’s body of work by conserving wire sculptures, maintaining a catalogue, assisting curators and writers, and educating a broader audience.
Addie Lanier is the younger daughter of Ruth Asawa. She studied English Literature at UCLA, taught in San Francisco’s public schools for nine years, and later worked for the Gordon and Betty Moore Foundation in grants management. Over the years she has supported her mother’s career as a grant writer, copyeditor, and assistant on public commissions. Since the early 2000s, she has assisted curators by providing information to support exhibitions and essays. Since 2013, she has worked to broaden Asawa’s legacy. She lives in San Francisco with her husband Peter.
Paul Lanier is a ceramic artist and sculptor who lives and works in San Francisco. He studied with Marguerite Wildenhain at Pond Farm, and then at both Luther and Hunter Colleges and UC Santa Cruz. He has worked with designers and architects on interior and exterior pieces. Paul has 35 years of experience with private and public commissions and assisted his mother Ruth Asawa on many of her large scale public art projects. He is a passionate advocate of excellence in arts education and of public education.
Marilyn Chase Author, journalist and teacher Marilyn Chase is at work on a biography: Everything She Touched: The Life of Ruth Asawa, slated for publication in Spring 2020 by Chronicle Books. A former staff writer and columnist for the Wall Street Journal, Chase previously taught narrative writing at Stanford University, and now serves as a Continuing Lecturer in the Graduate School of Journalism at the University of California, Berkeley. Her first book, The Barbary Plague: The Black Death in Victorian San Francisco, was published by Random House in 2003. A graduate of Stanford with honors in English literature, she received a Master’s Degree in Journalism from Berkeley. She lives with her family in San Francisco.
Akira Boch is an award-winning filmmaker and Director of the Watase Media Arts Center at the Japanese American National Museum in Los Angeles. He has an MFA in directing from the UCLA School of Film, Television, and Digital Media, and has made dozens of documentaries, music videos, and short films. His independent feature, The Crumbles, toured nationally at theaters, festivals, and universities.
Juan Devis is the Chief Creative Officer of KCET and PBS SoCal in Southern California and Link TV. He is responsible for the oversight of all production and editorial output from long-form episodes to short-form digital series. His role in developing strategic partnerships with funders, organizations and independent production houses ensures a new slate of content for both KCET and PBS SoCal in Southern California and Link TV nationwide. Devis develops creative strategies that define KCET, Link and PBS Socal’s editorial and artistic vision.
Jacqueline Reyno is a Producer for KCET/PBS SoCal/LinkTV. Reyno produces the arts and culture program Artbound, an award-winning a series about the cultural stories of our time told through the lives, works and creative processes of innovators. Additionally, Reyno produces The Migrant Kitchen, an Emmy®-winning series that explores California’s booming food scene through the eyes of a new generation of chefs whose cuisine is inspired by the immigrant experience; along with the series, Broken Bread, hosted by chef Roy Choi as he explores the broken systems in our communities and learns from the individuals and organizations who use food as a platform for activism and a catalyst for change.

California Studio Craft
2019-06-15 - 2020-02-23 | SFO Museum, San Francisco Airport, San Francisco, CA, 94128, United States
SFO Terminal 2
Departures – Level 2 – Post-Security
Featuring works from the Forrest L. Merrill collection
Studio craft combines the characteristics of traditional, handmade craft with the refined qualities of fine art. Made by professional artist-craftspeople who work in a variety of media, studio craft includes both utilitarian items and more experimental pieces that focus on aesthetics over function. For many, studio craft is an imaginative and personal expression that encourages creativity through the exploration of time-tested materials and techniques. The finest objects evoke emotion and exhibit the process of making along with evidence of the artist’s hand.
During the mid-20th century, studio craft began to thrive in California. Working with materials including clay, fiber, wood, metal, and glass, studio craft makers pioneered new directions in their respective media. With the support of college programming, exhibitions, and a burgeoning consumer market, makers utilized an artistic focus that bound craft more closely to the fine arts. A revolutionary studio craft movement emerged, and as the scene expanded around Southern California and the San Francisco Bay Area, other cities throughout the nation took notice.
California craft makers produced an array of modern, regionally unique items. Glen Lukens (1887–1967), who founded the ceramics department at the University of Southern California in 1933, was known for the “California Color” range of glazes that he formulated from minerals found in the state’s desert regions. Laura Andreson (1902–99), a Los Angeles-based potter who experimented with crystalline glazes, assembled a ceramics program for the University of California, Los Angeles, a short time later. Some of the state’s pioneering craft makers, such as the husband-and-wife team of Otto (1908–2007) and Gertrude (1908–71) Natzler, immigrated from Europe and brought with them centuries of European methods for working with clay.
Numerous makers have left their own indelible marks on California studio craft. Educator and sculptor Peter Voulkos (1924–2002) ushered ceramics towards a more expressive aesthetic. Marvin Lipofsky (1938–2016) and Robert Fritz (1920–86) founded the first studio glass programs in the state’s college system. June Schwarcz (1918–2015) took enamels to new heights with her experimental, electroformed vessels. Bob Stocksdale (1913–2003) set the bar for woodturners with his simple-yet-elegant forms. Kay Sekimachi (b. 1926) continues her innovative work as a fiber artist with masterful on- and off-loom textiles. These are a few of the many foundational makers who have created and redefined California studio craft over the past six decades.
This exhibition was made possible through a generous loan from Forrest L. Merrill. Thank you to Forrest L. Merrill for his support of this project, and to the Marvin Lipofsky Estate and Modern i Shop for their additional loans.
Photo © Laurence Cuneo

Artistic License: Six Takes on the Guggenheim Collection
2019-05-24 10:00 - 2020-01-12 17:30 | Solomon R. Guggenheim Museum, 1071 5th Ave, New York, NY, United States
The first-ever artist-curated exhibition mounted at the Guggenheim celebrates the museum’s extensive collection of modern and contemporary art. Curated by Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems — artists who each have had influential solo shows at the museum — Artistic License brings together both well-known and rarely seen works from the turn of the century to 1980.
Each artist was invited to make selections to shape a discrete presentation, one on each of the six levels of the rotunda. With the museum’s curators and conservators, they searched through the collection in storage, encountering renowned masterpieces while also finding singular contributions by less-prominent figures. The resulting exhibition presents nearly 300 paintings, sculptures, works on paper, and installations, some never before shown, that engage with the cultural discourses of their time—from the utopian aspirations of early modernism to the formal explorations of mid-century abstraction and the sociopolitical debates of the 1960s and ’70s. On view during the 60th anniversary of the Guggenheim’s iconic Frank Lloyd Wright–designed building, Artistic License honors the museum’s artist-centric ethos and commitment to art as a force for upending expectations and expanding perspectives.
Artistic License is organized with the artists by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator; supported by Ylinka Barotto, Assistant Curator; with Tracey Bashkoff, Director of Collections and Senior Curator; and Joan Young, Director, Curatorial Affairs.
The museum is open from 10-8 on Saturdays. Every Saturday, from 5–8 pm, you can pay what you wish for admission (cash only). Suggested admission is $10 and the last ticket is issued at 7:30 pm.
Get New York CityPASS, New York Explorer Pass, and New York pass for discounted admission to the Guggenheim and other New York attractions. Learn more about these and other special offers, including a UnionPay discount, on the Discounts page.

Sam Talks — Revealing Ruth Asawa, Artist And Advocate
2019-05-08 18:15 - 20:15 | Seattle Art Museum, 1300 1st Ave, Seattle, WA, 98101, United States
A conversation with
Daniell Cornell, independent arts professional, cultural historian, curator, and educator
Mayumi Tsutakawa, writer and curator
Join us for a conversation on the remarkable life and work of Ruth Asawa (1926-2013), with curator Daniell Cornell and writer/curator Mayumi Tsutakawa. Known especially for her hanging looped wire sculptures, Asawa also created other forms of sculpture, prints, paintings, and installation art. Interest and appreciation for her work continues to grow, along with new assessments of her importance within modern art movements.
After living through the incarceration of Japanese Americans during World War II along with her family in California and at the Rohwer Arkansas camp, Asawa studied with Josef Albers and other notables at Black Mountain College. She then lived in the San Francisco area, where she created extraordinary sculpture exploring line, space, and light; received public art commissions; and was a strong advocate for arts education in public schools.
About the Presenters
Daniell Cornell is an independent arts professional, cultural historian, curator, and educator. While serving as Director of Contemporary Art Projects for the Fine Arts Museums of San Francisco (2000-2008), he worked with Ruth Asawa over several years in organizing and writing for the 2006 major retrospective exhibition and catalogue The Sculpture of Ruth Asawa: Contours in the Air.
Mayumi Tsutakawa is a writer and curator who has focused on Asian/Pacific American history and arts.
This talk takes place in the Plestcheeff Auditorium at the Seattle Art Museum in downtown Seattle. South Hall doors open at 6:30 PM.
Seating is first-come, first-served. Please arrive to your seat 10 minutes before the program starts, or your seat may be released.
Individual tickets available at the door: $10, SAM members $5; free at the door for students with ID.

The Medium Is the Message: Art since 1950
2019-02-22 08:00 - 2020-05-01 17:00 | Cantor Arts Center, 328 Lomita Drive at Museum Way, Stanford, CA, 94305, United States
It is the medium that shapes and controls the scale and form of human association and action.
—Marshall McLuhan, The Medium Is the Message

Using works created since 1950, this exhibition explores the relationship between subject, content, and the materials that informed each object’s production.
The exhibition is divided into three broad categories that explore the notion of “medium” in its various contexts: a means of communication, the materials from which an art object is created, and a mediating apparatus between objects and subjects.
“In the Abstract,” explores how paint, metal, and fabric can be used as means of abstract communication. “The Sum of Its Parts” explores how artists have used nontraditional art materials for critical and expressive inquiry. Lastly, “The Faces We Present” reconsiders the limits of figural representation, investigating how portraiture can serve as a mediating apparatus between the past and the present.
Viewed collectively, these works suggest that an exploration of medium is one way of challenging dominant discourses around art, culture, and history.
Read the Stanford Arts story about the exhibition >
Photo: Edward Kienholz and Nancy Reddin Kienholz (Edward Kienholz: U.S.A., 1927–1994; Nancy Kienholz: U.S.A., b. 1943), The Billionaire Deluxe, 1977. Metal, Fresnel lens system, light bulb, and solid-state electronic second counter. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, 2007.57

The Bauhaus and Harvard
2019-02-08 10:00 - 2019-07-28 17:00 | Harvard Art Museums, 32 Quincy Street, Cambridge, MA, 02138, United States
The museum is free to students with valid id and youth under 18.
The Bauhaus and Harvard — mounted in conjunction with the 100th anniversary of the founding of the Bauhaus in Weimar, Germany — presents nearly 200 works by 74 artists, drawn almost entirely from the Busch-Reisinger Museum’s extensive Bauhaus collection. Founded in 1919 and closed just 14 years later, the Bauhaus was the 20th century’s most influential school of art, architecture, and design. Harvard University played host to the first Bauhaus exhibition in the United States in 1930, and went on to become an unofficial center for the Bauhaus in America when founding director Walter Gropius joined Harvard’s department of architecture in 1937. Today the Busch-Reisinger Museum houses the largest Bauhaus collection outside Germany, initiated and assembled through the efforts of Gropius and many former teachers and students who emigrated from Nazi Germany, including Anni and Josef Albers, Herbert Bayer, Lyonel Feininger, and László Moholy-Nagy.
The exhibition features rarely seen student exercises, iconic design objects, photography, textiles, typography, paintings, and archival materials. It explores the school’s pioneering approach to art education, the ways its workshops sought to revolutionize the experience of everyday life, the widespread influence of Bauhaus instruction in America, and Harvard’s own Graduate Center (1950), the first modernist building complex on campus, designed by Gropius’s firm The Architects Collaborative. A complementary exhibition installed in an adjacent gallery — Hans Arp’s Constellations II — features one of the site-specific works commissioned for the Graduate Center.
A comprehensive digital resource launched in 2016 provides access to the museums’ more than 32,000 Bauhaus-related objects and shares scholarship on the school’s extensive ties to Harvard and the Greater Boston area. A publication inspired by The Bauhaus and Harvard and its related programming is due out in Fall 2020.
Organized by the Harvard Art Museums. Curated by Laura Muir, Research Curator in the Division of Academic and Public Programs, Harvard Art Museums.
Support for this project is provided by endowed funds, including the Daimler Curatorship of the Busch-Reisinger Museum Fund, the Charles L. Kuhn Endowment Fund, and the Care of the Busch-Reisinger Museum Collection Fund. The publication is supported by the Harvard Art Museums Mellon Publication Funds, including the Carola B. Terwilliger Fund. In addition, exhibition related programming is made possible by the M. Victor Leventritt Fund, which was established through the generosity of the wife, children, and friends of the late M. Victor Leventritt, Harvard Class of 1935. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.
Explore more about the Bauhaus centenary: bauhaus100.com
Share your experience: #Bauhaus100 #HarvardArtMuseums
Photo: Harvard Art Museums/Busch-Reisinger Museum

Anni Albers at the Tate Modern
2018-10-11 10:00 - 2019-01-27 20:00 | Tate Modern, Bankside, London, SE1 9TG, United Kingdom
A long overdue recognition of Albers’s pivotal contribution to modern art and design, this is the first major exhibition of her work in the UK.
As a female student at the radical Bauhaus art school, Albers was discouraged from taking up certain classes. She enrolled in the weaving workshop and made textiles her key form of expression. She inspired and was inspired by her artist contemporaries, among them her teacher, Paul Klee, and her husband, Josef Albers.
This beautiful exhibition illuminates the artist’s creative process and her engagement with art, architecture and design. You can discover why Albers has been a profound influence on artists around the world via more than 350 objects from exquisite small-scale ‘pictorial weavings’ to large wall-hangings and the textiles she designed for mass production, as well as her later prints and drawings.
At the heart of the exhibition is an exploration of Albers’s seminal publication On Weaving 1965 and the wide source material she gathered together to create the book.
Photo: Anni Albers Card Weaving at Black Mountain College Black Mountain College Photograph Collection, State Archives of North Carolina, Western Regional Archives, Asheville, N.C.

Frieze Masters London
2018-10-04 11:00 - 2018-10-07 18:00 | Regent’s Park, Gloucester Green, Regent's Park, London, United Kingdom
Frieze Masters features more than 130 leading modern and historical galleries from around the world, showcasing art from the ancient era and Old Masters to the late 20th century. David Zwirner is participating in Frieze Masters, with a selection of works by Anni Albers, Josef Albers, Ruth Asawa, Piero Dorazio, Yayoi Kusama, René Magritte, Giorgio Morandi, Bruce Nauman, Robert Rauschenberg, Dieter Roth, Jan Schoonhoven, Mira Schendel, Michelle Stuart, Cy Twombly, and Franz West.
Booth F11
Tickets are limited and often sell out >

Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College
2018-09-28 11:00 - 2019-01-01 17:00 | CA
Curated by Julie Levin Caro and Jeff Arnal
One of the most widely regarded American artists of the 20th century, Jacob Lawrence (1917-2000) is known for his paintings, drawings, and prints that hover between abstraction and socially inspired narrative realism, chronicling African-American history and experience during his lifetime. Between Form and Content will be the very first exhibition to focus on Lawrence’s experiences during the summer of 1946, when Josef Albers invited Lawrence to teach painting at Black Mountain College. In addition to Lawrence’s paintings, the exhibition will feature artworks by Gwendolyn Knight Lawrence, Josef and Anni Albers, Leo Amino, Jean Varda, Ruth Asawa, Ray Johnson, and Beaumont and Nancy Newhall. It will also examine Lawrence’s paintings, pedagogy, and legacy in a contemporary context, through the lens of four multimedia artists: Animator/filmmaker Martha Colburn, composer/performer, Tyondai Braxton, installation artist Grace Villamil and writer and interdisciplinary artist, Jace Clayton (DJ Rupture).
(The center is closed Tuesdays and Sundays. This is the first show in their new location.)
